EUGENIA RASKOPOULOS

Eugenia Raskopoulos,    (dis)order,  2019, 10.33   single-channel digital video installation, discarded household goods, dimensions variable. Installation view at  The National  exhibition, Carriageworks, 2019.

Eugenia Raskopoulos, (dis)order, 2019, 10.33 single-channel digital video installation, discarded household goods, dimensions variable. Installation view at The National exhibition, Carriageworks, 2019.

EUGENIA RASKOPOULOS's work (dis)order is now on show at the Ningbo Museum in China in their 2019 Pacific Rim exhibition.

This work sees a tower built from discarded whitegoods stacked high and then toppled by the artist. Footage of the performance plays over the site of the destruction, where the appliances now lay scattered.

(dis)order is at once action and archive. It questions the speed at which we obtain and discard technologies of convenience, and implies that these machines are an inadequate or impermanent substitute to the body in domestic space.

The Ningbo Art Museum was built in 2005 and designed by Pritzker Prize-winning architect Wang Shu.


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EUGENIA RASKOPOULOS

in a word untitled #1,  2004, marble, 193.5 x 71.5 x 3 cm;  Un(truth),  2019, reflective vinyl, 578 x 358.5 cm. Installation view at Campbelltown Arts Centre; photo courtesy of the C-A-C.

in a word untitled #1, 2004, marble, 193.5 x 71.5 x 3 cm; Un(truth), 2019, reflective vinyl, 578 x 358.5 cm. Installation view at Campbelltown Arts Centre; photo courtesy of the C-A-C.


EUGENIA RASKOPOULOS is exhibiting a newly commissioned work in OK Democracy, We Need To Talk at Campbelltown Arts Centre (C-A-C), alongside an existing work. 


OK Democracy, We Need to Talk is a conversation and a provocation that suggests an ambition for change through the exploration of how democracy is performed in its current state. Reflecting on the current state of democracy in Australia and around the world, the exhibition presents an open discussion about democracy and its future – or potentially – its demise.

Raskopoulos worked with journalist Peter Greste on her new work Un(truth), which focuses on journalists who have lost their lives in search of democracy and freedom of speech. Mirrored letters run down the gallery wall, forming the names of 54 journalists who were killed in 2018. This work is paired with an older piece, In a word, a marble slab inscribed with the word DEMOCRACY in Ancient Greek. The marble sits on the floor as if dropped from above and suggests a broken or unstable system. "I equate democracy with a sense of freedom, a sense of equality, but I feel neither of these are accurate descriptions of democracy in this day," Raskopoulos said.

The exhibition continues until 31 July.

EUGENIA RASKOPOULOS

Image: courtesy of Power Publications

Image: courtesy of Power Publications

Eugenia Raskopoulos: Vestiges of the Tongue is the first monograph documenting three decades of work from the photo-media artist, exploring themes of gender, migration and globalisation, and the ways they shift between our eyes and our tongues. Co-published by Formist and Power Publications, this is a beautifully crafted book and an important recognition of Raskopoulos' pioneering practice.

To mark the special occasion of this book launch, Carriageworks is hosting a panel on Tuesday 16 April 6 - 8.30pm. Hear from Raskopoulos as well as selected contributors to the publication and curators of 'The National' as they discuss how art can navigate the nuances between images and text.

Click here for event details! This is a free event, and a 10% book discount will be offered to all attendees.

EUGENIA RASKOPOULOS

Eugenia Raskopoulos,  Diglossia  #4 , 2009, pure pigment print on archival paper, 140 x 93.5 cm. 

Eugenia Raskopoulos, Diglossia  #4, 2009, pure pigment print on archival paper, 140 x 93.5 cm. 

Congratulations to EUGENIA RASKOPOULOS! Announced as one of the artists selected for The National: New Australian Art 2019 at Carriageworks. 

The exhibition presents the latest ideas and forms in contemporary Australian art, curated across three of Sydney's premier cultural institutions: the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. 
 

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EUGENIA RASKOPOLOUS | JULIE RRAP | ANNE ZAHALKA

EUGENIA RASKOPOULOS, JULIE RRAP and ANNE ZAHALKA have been included in the important exhibition Dark Rooms: Women Directing the Lens 1978–98 at Griffith University Art Museum. 

Griffith University Art Museum says: "Against the backdrop of the feminist movement and activism in arts and politics, many women artists during this period made work that refused the male gaze. Acutely aware of the ways in which the lens could empower or reduce the subject, they put themselves, friends, and family in the picture, and in doing so, changed the cultural landscape of Australia. Photomedia became an important way for artists to confront racism and the objectification of peoples; disrupt and subvert sexually violent imagery; and forge a renewed interest in psychoanalytic theory."

The exhibition opens 14 July from 2pm at the Griffith University Art Museum, Brisbane.

The exhibition runs until 25 August.

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Eugenia Raskopolous,  Untitled No 3,  1998, Ilfachrome photograph, 77 x 99 cm.

Eugenia Raskopolous, Untitled No 3, 1998, Ilfachrome photograph, 77 x 99 cm.

Julie Rrap,  Persona and Shadow: Madonna , 1984, cibachrome print, 194 x 105cm. 

Julie Rrap, Persona and Shadow: Madonna, 1984, cibachrome print, 194 x 105cm. 

Anne Zahalka,  The Artist (Self-Portrait), Berlin , 1987, cibachrome photograph, 80 x80cm. 

Anne Zahalka, The Artist (Self-Portrait), Berlin, 1987, cibachrome photograph, 80 x80cm. 

EUGENIA RASKOPOULOS

EUGENIA RASKOPOULOS has been included in the video exhibition A Visibility Matrix at The Douglas Hyde Gallery in Dublin. Initiated by Dublin-based artists and long-term collaborators, Sven Anderson and Gerard Byrne, the exhibition unfolds as a response to the ambitions of abandoned art and technology projects from the 1960s–1980s that prioritised multiscreen video projection, monitor arrays, communications networks and algorithmic composition principles. These projects explored visual excess and hyperstimulation prior to the development of the Internet, and before multi-screen video displays expanded into the vernacular backdrop of everyday public and private life.

The exhibition opens Wednesday 6 June and continues until 25 August.

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Eugenia Raskopoulos,  Rootreroot , 2016, HD digital video, single channel, colour, stereo, 8.45mins.

Eugenia Raskopoulos, Rootreroot, 2016, HD digital video, single channel, colour, stereo, 8.45mins.

EUGENIA RASKOPOULOS

EUGENIA RASKOPOULOS's work is featured in a new exhibition at the Centre for Contemporary Photography titled Figuratively Speaking, curated by Laura Lantieri. The show looks at the body as a medium for language in lens-based media and includes three of Raskopoulos's striking large-scale prints from her 'Diglossia' series. 

The exhibition runs from 2 Feburary - 11 March 2018. 

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Eugenia Raskopoulos,  Diglossia #4 , 2009, pure pigment print on archival paper, 140 x 93.5cm.

Eugenia Raskopoulos, Diglossia #4, 2009, pure pigment print on archival paper, 140 x 93.5cm.

EUGENIA RASKOPOULOS

Congratulations to EUGENIA RASKOPOULOS, who has been shortlisted for this year’s NSW Visual Arts Fellowship (Mid-career/Established). The recipient will be awarded a cash amount of $30,000 from Create NSW, a major Artbank commission of up to $20,000 and a residency at a NSW regional gallery.

Eugenia Raskopoulos's work will be featured in an exhibition at Artbank in Sydney from 26 October 2017 to 16 February 2018, with the Fellowship recipient to be announced on the opening night of the exhibition.

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Eugenia Raskopoulos,  rootreroot & routreroute , 2016. Installation view Tarrawarra Biennial 2016:  Endless Circulation . Photo: Andrew Curtis

Eugenia Raskopoulos, rootreroot & routreroute, 2016. Installation view Tarrawarra Biennial 2016: Endless Circulation. Photo: Andrew Curtis

EUGENIA RASKOPOULOS

UQ Art Museum has posted an article about EUGENIA RASKOPOULOS' work in their current exhibition, The Dust Never Settles. For this exhibition, Michele Helmrich, UQ Art Museum’s Associate Director (Curatorial) selected works from their collection that relate to 'unfinished business' in terms of cultural, environmental and psychological histories that remain unresolved. In the article, the RASKOPOULOS talks about how memory and the passing of knowledge is an important part of her practice.

To read the full article, please click here.
The Dust Never Settles runs until 30 July 2017.

 

Eugenia Raskopoulos ,  re‑ma(r)king , 2010, 2 channel video, sound, 5:15 min

Eugenia Raskopoulos, re‑ma(r)king, 2010, 2 channel video, sound, 5:15 min

TRACY SARROFF & EUGENIA RASKOPOULOS

TRACY SARROF,  Lollipop & Lime  (Detail),  Orange  (Detail) &  Rosy Amber, Mandarin & Lime  (Detail), 2017, Perspex and LED light components, dimensions variable.

TRACY SARROF, Lollipop & Lime (Detail), Orange (Detail) & Rosy Amber, Mandarin & Lime (Detail), 2017, Perspex and LED light components, dimensions variable.

Guides to help you, the exhibition curated by TRACY SARROFF is coming to an end. This exhibition features works by EUGENIA RASKOPOULOS, SARROFF and other artists exploring light sources as creative mediums. Guides to help you will end with a closing event this Saturday 22 April, from 3-5pm at the Campbell Arcade, Melbourne.

You can read a review of the exhibition from The Culture Concept Circle here

PETER CALLAS, EUGENIA RASKOPOULOS & ANNE SCOTT WILSON

Peter Callas,  Night's High Noon: An Anti-Terrain,  1988 (video still)

Peter Callas, Night's High Noon: An Anti-Terrain, 1988 (video still)

Anne Scott Wilson,  Conversation,  2008 (video still)

Anne Scott Wilson, Conversation, 2008 (video still)

PETER CALLAS, EUGENIA RASKOPOULOS and ANNE SCOTT WILSON are included in Red Green Blue: A History of Australian Video Art at the Griffith University Art Gallery. 

Curated by Matthew Perkins, the exhibition features over 60 works from the 1970s through to the present day. This major survey takes the viewer on a historical journey, while at the same time celebrating the ongoing dynamism and depth of video art practice in Australia.

Eugenia Raskopoulos,  rootreroot & routreroute , 2016. installation view Tarrawarra Biennial 2016:  Endless Circulation.  Photo: Andrew Curtis

Eugenia Raskopoulos, rootreroot & routreroute, 2016. installation view Tarrawarra Biennial 2016: Endless Circulation. Photo: Andrew Curtis

The exhibition will run from 30 March - 8 July 2017.

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EUGENIA RASKOPOULOS

EUGENIA RASKOPOULOS's work, 'Untitled 99-00' 1999-2000, features in Let's Talk About Text, a new exhibition curated by Daniel Mudie Cunningham and Miriam Kelly opening as part of Art Month Sydney.

Let's Talk About Text presents works from the Artbank collection that harness text based communication as a pictorial device. From sloganeering statements to vernacular fragments and found fonts, this exhibition focuses on how artists respond to and encourage the visual pleasure of inventive typographic forms for personal and political ends.

The exhibition opens on 16 March 2017, 6-8pm, at Artbank Gallery, 222 Young Street, Waterloo, Sydney.

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Eugenia Raskopoulos,  Untitled 99-00,  1999-2000 (detail), 122 x 122 cm

Eugenia Raskopoulos, Untitled 99-00, 1999-2000 (detail), 122 x 122 cm

EUGENIA RASKOPOULOS

A review by Tessa Laird of the TarraWarra Biennial 2016 exhibition Endless Circulation, at the TarraWarra Museum of Art, appears as a key feature on Art Agenda. 

EUGENIA RASKOPOULOS's video works within the show are described within the review: 

Eugenia Raskoupolous’ Rootreroot (2016) figures a north/south divide. Above, an olive branch sweeps a perfect clockwise circle into soil; below, the same arm sweeps a native Australian wattle branch counter-clockwise. The aerial perspectives (shot with drones) turn the hermetically sealed loops into an infinity symbol. 

The exhibition continues through to 6 November 2016. 

Read the entire review here

EUGENIA RASKOPOULOS

Left: Eugenia Raskopoulos,  Rootreroot , 2016, HD digital video, single channel, colour, stereo, 8:45 min. Right: Eugenia Raskopoulos,  Routereroute , 2016, murano glass neon, dimensions variable.

Left: Eugenia Raskopoulos, Rootreroot, 2016, HD digital video, single channel, colour, stereo, 8:45 min. Right: Eugenia Raskopoulos, Routereroute, 2016, murano glass neon, dimensions variable.

EUGENIA RASKOPOULOS's work is currently on view in the TarraWarra Biennial 2016: Endless Circulation, curated by Victoria Lynn and Helen Hughes.

"Eugenia Raskoupolous has created two new works for this exhibition, a video entitled Rootreroot and a neon work entitled Routereroute. In the video we see a woman dragging an olive tree in a clockwise direction in the upper section, and in the lower section the same woman dragging a wattle tree in an anticlockwise direction. The struggle and the labour involved in the gestures are evident in the image, as we follow her slow but determined trajectory around each endless loop. Shot from above using drones, the two circles intertwine at one point, with the shadow of each figure dissolving into the other. At this fleeting intersection, we glimpse a moment of completeness.

In Routereroute, two red neon signs spell out the title of the work, one in Greek (in reference to the artist’s Greek heritage and first language) and one in English. The letters of the Greek words form a larger circle than the English, as if to emphasise the gaps of translation. The emphasis is, rather, on the route, direction or road travelled. Translation never really meets its destination; it is in continuous and endless circulation." - Victoria Lynn

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DANI MARTI / EUGENIA RASKOPOULOS

Dani Marti,  POINTLESS (arrangement in Gold),  2016, corner cube reflectors and natural crystal beads on aluminium frame, 90 x 90 x 25 cm.

Dani Marti, POINTLESS (arrangement in Gold), 2016, corner cube reflectors and natural crystal beads on aluminium frame, 90 x 90 x 25 cm.

DANI MARTI & EUGENIA RASKOPOULOS are included in the exhibition Incandescence at the Grace Cossington Smith Gallery. The exhibition explores the materiality of light and how artists use it to reflect on contemporary global culture. The exhibition will run from 1 June to 9 July 2016.

For more information, please click here.  

EUGENIA RASKOPOULOS

TurningTime  2015, 2 channel video, 150mins.

TurningTime 2015, 2 channel video, 150mins.

EUGENIA RASKOPOULOS is going to participate in the CEMENTA 2015 Biennial in Kandos NSW. The Biennial will be held from April 9 to 12 celebrating contemporary art in Australia. The work will address the identity, history, and current social, environmental and economic context of the town and the region of Central West NSW.

For more Information, click here.

EUGENIA RASKOPOULOS

EUGENIA RASKOPOULOS's video work re-mar(ki)ng (2010) is part of a group exhibition titled PP/VT (Performance Presence / Video Time) at the Australian Experimental Art Foundation in Adelaide. Video Time explores various genres in performance art through single and dual-screen video works and installations. It will include documentation of live events and performance made exclusively for screen.

The exhibition runs from 1 April - 16 May 2015.

Eugenia Raskopoulos,  re-mar(ki)ng,  2010, 2 channel video & sound    5:15 minutes

Eugenia Raskopoulos, re-mar(ki)ng, 2010, 2 channel video & sound 5:15 minutes

EUGENIA RASKOPOULOS, NIKE SAAVAS, ANNE ZAHALKA

Anne Zahalka,  Untitled (figure and pillar) , 2015, Pigment ink on rag paper, 100cm x 66.6cm

Anne Zahalka, Untitled (figure and pillar), 2015, Pigment ink on rag paper, 100cm x 66.6cm

EUGENIA RASKOPOULOS, NIKE SAAVAS and ANNE ZAHALKA will be part of the exhibition Lines of Force... Space + Displacement in the Sydney College of the Arts Gallery at the University of Sydney. The exhibition presents works by a selection of SCA Alumni whose practice is informed by the key considerations of space and displacement.

The exhibition will run 15 April - 2 May.

For more information, click here.

EUGENIA RASKOPOULOS

Vestiges #11 , 2010-2014, digital pigment print on archival paper, 142 x 105cm.

Vestiges #11, 2010-2014, digital pigment print on archival paper, 142 x 105cm.

EUGENIA RASKOPOULOS' exhibition Vestiges has been reviewed in Robert Nelson's article, Artists pay tribute to the nameless in The Age. Nelson's latest comprehensive review addresses a certain recurrent theme in the Melbourne art world of late.

Read the article here

EUGENIA RASKOPOULOS

Eugenia Raskopoulos,  Vestiges #1 , 2010-2014, digital pigment print on archival paper, 142x105cm. 

Eugenia Raskopoulos, Vestiges #1, 2010-2014, digital pigment print on archival paper, 142x105cm. 

EUGENIA RASKOPOULOS

Vestiges

13 May – 14 June 2014

ARC ONE Gallery is excited to present Eugenia Raskopoulos’ photographic series, Vestiges, from which she won the 2012 Josephine Ulrich & Win Schubert Photography Award with the work Vestiges #3.  

In Vestiges, Raskopoulos has photographed carefully kept pieces of material and wrapping – plastic, paper and fabric – used to wrap gifts given to her over her years of birthday celebrations from 2010 to 2014. The series of twelve archival digital prints illustrates a ritualistic and physical connection between giver and receiver, as well as a sense of emptiness; of roles played out, of things been and gone. Anneke Jaspers, Assistant Curator of Contemporary Art, Art Gallery of New South Wales, refers to the photographs as records of ‘soft violence’ - ‘an act of destruction that is inflected by tenderness’ while Raskopoulos unwraps her gifts.  Within these images, we are left with a strange yet familiar vessel, imprinted with Raskopoulos’ touch and testament to a moment past. In its capture, each piece of decorative refuse becomes an object that hangs in a state of temporal logic.

Raskopoulos has exhibited in numerous exhibitions nationally and internationally including, Read your Lips, Australian Centre for Photography, Sydney (2013); footnotes at the Art Gallery of New South Wales, Sydney (2012); Words Are Not Hard – Intrude 366, Project Zendai MoMA, China (2008), and Writing Towards Disappearance, at ARC ONE Gallery, Melbourne (2009).  

Raskopoulos has also participated in various group exhibitions such as Image Anxiety/Ansiedad Visual, PhotoEspana, Spain (2012); Light Works, National Gallery of Victoria, Melbourne (2012); Group Exhibition, William Wright Artist Projects Space, Sydney (2011); How We Know that the Dead Return, Gertrude Contemporary Art Space, Melbourne (2010); Mirror Mirror Then and Now, Samstag Museum of Art, Adelaide (2010) and Video Logic, Museum of Contemporary Art, Sydney (2008). In 2007, Raskopoulos’ work was shown in Nightcomers at the 10th International Istanbul Biennale.

In 2012 Raskopoulos was awarded the Josephine Ulrich & Win Schubert Photography Award for her work, Vestiges #3. In 2010 and 2009 Raskopoulos was a finalist for the Albury City National Photography Prize and the Redlands Westpac Prize respectively. In 2006 she received a MoMA scholarship for The Feminist Future conference from the Museum of Modern Art in New York. Raskopoulos has also been the recipient of a number of grants from the Australia Council.

Raskopoulos’ work is in Australian and international collections, including the National Gallery of Australia, Canberra; Art Gallery of New South Wales; Queensland Art Gallery; Art Gallery of Western Australia; Artbank Collection; Macedonian Museum of Contemporary Art, Greece; Polaroid Corporation Australia; Bodo University, Norway; Malmo University, Sweden; Gold Coast City Art Gallery, QLD; Groningen Hochschule University, Netherlands.  Raskopoulos’ works are also held in private collections in Australia, Greece, China, Switzerland and the USA. 


For all enquiries contact Annabel Holt at mail@arc1gallery.com